I created the environment for the drop pod interior vehicle. I used a combination of existing components and elements I modeled to create the interior of the ship . Mike Johnson modeled the ships doors. I worked closely with the CG Supervisor, Corey Butler to create an environment that fit the art direction and story.

Look development

Look Development was starting by the CG sup, and I refined the lighting approach, render passes, compositing methods and color grading for the shots shown here as the show progressed. I also created several interactive lighting passes animated in fusion to create the chaotic lighting during the shots.

Lighting, Compositing, and Scene Assembly

Once all of the assets from the other departments at Blur were approved (Characters, Animation and FX assets) I assembled the shots, implemented client notes, rendered and composited the shots I was assigned for the Show. I also helped out on some other shots, but the images here I was most responsible for.

Tools and Team

CG Sup Corey Butler was awesome to work with. Clear direction and lots of help along the way. I used 3dsMax, Vray, Fusion, Photoshop, Gen Arts Sapphire….

I created the environments for the gun shack and the village which were used in 10 shots in the cinematic. I used a combination of existing components and elements I modeled to create shacks, furniture and debris scattered around the village. I used the landscape palette provided by the shows CG lead, Greg Keggel, to populate my village and mountain backgrounds. I worked closely with the CG Supervisor, Heikki Antilla to create environments that fit the art direction and story.

Look development

I was fortunate enough to be involved in the look development process for my shots as well. Working under the direction of the CG sup, I was able to define my lighting approach, render passes, compositing methods and color grading for the shots shown here.

Lighting, Compositing, and Scene Assembly

Once all of the assets from the other departments at Blur were approved (Characters, Animation and FX assets) I assembled the shots, implemented client notes, rendered and composited the 8 shots I was assigned for the Show. I also helped out on some other shots, but the images here I was most responsible for.

Tools and Team

Heikki and Greg were really instrumental in helping me find my way on my first Show at Blur. Thanks Dudes!!! I was glad to work in company with such a huge Talent Pool. I used 3dsMax, Vray, Fusion, Photoshop, Gen Arts Sapphire, Forest Pack Pro and lots of other stuff in my workflow.

Here are some animation frames from shots I completed at Blur in January 2012 for the UFC on FOX titles. I was responsible for assembling and rendering characters, props, environments and atmospheric FX assets created by the other departments at Blur.

I started from a great look development master file created by the CG supervisor, which contained all of the environment assets, master lighting and a master fusion comp. I made final lighting and some minor shader adjustments on the “Logo” shots. I implemented client notes, rendered and composited 8 shots for the Show.

Here are some concept frames I produced for an animation project. I wanted to tell the story of a development project thru the use of a practical photo studio and handmade wood models photographed in the stop motion style. I drew some outlines of trees and buildings and create 3d models from them to give the messy feel. Modeled in 3dsMax and rendered with Vray.

Every now and then I create an image just because. The first image was emulating a night scene built from painted foam core. The second is a paper/button flower in a thimble flower pot. Like I said….just because.

Here are some characters I’ve been working on for a personal project. The project features robots and these are some work in progress renders. The bigger robot is made to look like a 50′s tin toy while the smaller robot is made to look like a homemade doll using mostly painted wood and simple hinges. I used Maya and vray for this project.

Here’s a progress frame of a set that Austin and I completed for Hornet Studios back in June, 2011. This was an office set that was used on another 30 second spot for Uncle Bens Ready Rice. Unlike the previous Uncle Bens post, the render shown reflects our work without any changes from Hornet. I was responsible for textures, shaders and lighting and Austin did all of the modeling. We worked in Maya and rendered with Vray.

I was recently tasked with updating Focus360’s residential home virtual tour lighting rig to achieve a more photo-realistic result. Here are a few images from the model I used as the prototype. I designed room schemes using content from both existing models from our library as well as some custom props I modeled and textured. I also created a “Backyard Set” for what we see out the windows. I decided to go with 3d geometry for the set for added realism. After I finished these images, I packed up all of the elements necessary to recreate this result and created some instruction documents for the team to implement on future jobs.

Here are a few renderings I created at Focus360 in February 2011. I had approximately 3 days to execute camera setup, lighting, shaders and post using models from an outsource team. This was a quick project, but for the time I spent I was happy with the result. I used 3DS Max and Vray. I ended up using vray sun and sky with a vraycomptex with an hdr to add some clouds to the sky. I also used exposure and in camera depth of field.

This personal project was inspired by a crazy little toy Space Monkey that was hanging around our office. Not even sure whose it was originally. I decided it was missing something….KUNG FU. So I modeled it in Maya and added a utility belt with some banana nun-chucks and a twist tie head band. After modeling I decided to setup a skeleton and rig the model to make it easier to pose. Rendered with Vray for Maya.